Jairus Khan about ten years led an active life in the Canadian di-dzheyskuyu/promouterskuyu underground techno-industrial stage, but three years ago, decided to form their own musical project AD VER SARY. The most meticulous and informed of you probably have heard his remixes of the tracks on the CONVERTER and ISZOLOSCOPE.
In May 2008, a musician in the court ruled his public debut album “Bone Music”, which contains a powerful, energetic and melodic cocktail of power rhythmic noise, Industrial, an organic landscape ambience, idm-electronics and tribalnyh ancient rhythms. As you can see, nameshano lot, but the result sounds very harmonious and fresh. What’s immediately striking when listening to the album is a very good balance between the rigid, harsh, aggressive and beautiful, including imagination, causing emotion sounds.
Many of AD VER SARY based on attacking rhythms perfectly adapted to the club environment and able to strike and disperse the noise-industrial human biomass on tancpole to very high speeds and orgazmicheskih sensations. For example, a turbojet accelerators can choose to drive such downhole, technique execution and not deprived of intelligent charm of tracks like “Ancients”, “Bone Music” or “Number Nine”.
It is a pleasure to listen to music groups and dance outside the site. Because it such a multi-layered, deep and diverse. Moderate eksperimentalizm it is also not alien. Rapid and robust, well unwind devastating tribalno techno-industrial songs, alternate militants on the album with a calm, measured and atmospheric rooms, which tend to be powerful, painted mrachnovatye mysterious tone of the industrial trip-Hopu ( “Friends Of Father”), gratsioznym Forms of hard-techno ( “Just [Spooks]”) or pleasure to shake tribalnyh rhythmic waves of steel dark ambient ( “International Dark Skies”). The album also includes remixes good ANTIGEN SHIFT, TONIKOM and SYNAPSCAPE, as well as a remix AD VER SARY on track URUSAI.
Finally, add that you can download a free peer-album, including the complete design, the official site AD VER SARY on the Internet. And, believe me, it is worth it! Album: “Bone Music” really good and I suspect must come to taste fans of groups such as THIS MORN’OMINA, EXOCET, REMAIN SILENT and ISZOLOSCOPE. [8 points]
My new favourite Bone Music review came out on Wounds of the Earth today. I wish most reviewers were half as critical (or as detailed) as this one.
“Bone Music” is a really weird album. It took me quite a few listens to fully wrap my head around what is contained herein. There are two main faces to the music. One is a highly organic and ancient – almost primordial – sound. The melodic and textural aspects of the album take on this sound. The other sound is more industrial…it is that of a dilapidated factory spewing out pollution and shrapnel. This sound is found in the rhythmic aspect of the album.
Somehow the juxtaposition of these two very dissimilar sounds is melded here with astonishing results. […] I can’t say that this album sounds much like anything else on the planet and I think that the Ad-ver-sary sound is truly unique.
My record label is having a crazy sale on their most popular CDs right now, including Bone Music by yours truly for only $5.
In fact, for a grand total of $30 you can pick up 4 great albums and the best 2CD compilation since Hive Records Fuck.
I’m just sayin.
A second review of Bone Music hits ChainDLK.
Another new and yet-not-discovered-before new signing to the growing Electronica armada of the Chicago Heights-based Tympanik Audio label. We had this act already presented here with a review and a well deserved interview, I nevertheless come a bit later on this too. AD-VER-SARY is a solo effort by Jairus Kahn and long-year active Techno- and Underground-DJ. He has already shared some collaborations with acts like CONVERTER, TERRORFAKT or ANTIGEN SHIFT – and CYANOTIC. After having read this and heard the first both tracks, I really thought: “does Tympanik goes Electro-Metal”? Okay, those guitar riffs are sampled, stretched and manipulated, but it seems that some or another of the collaborations has left some organic influence on the musically outfit.
Luckily Jairus leaves the Coldwave-Industrial-like influence after the first tunes. AD-VER-SARY’s playing field is a rather straight oriented form of Electronica music, here and there infiltrated with a promising mixture of Dark Ambient (“International Dark Shies”), Powernoise (“No Exit”) and some Down-Tempo/Break-Beat impressions (“Friends Of Father”, “Bone Music”). It is promising, since the try to include diversity seems to the intended and outstanding point behind this release. Three additional remix work provided by mouthwatering Ant-Zen7Hymen-recording acts like SYNAPSCAPE, ANTIGEN SHIFT or the mysterious TONIKOM (marvelous!) fulfill a quite great release, whose magic can’t get discovered after only one listen. This album needs some more spins to reach fully satisfaction, which is at least guaranteed.
“In this day and age, where excellent electronic music is abundant and generally not very hard to find (if you make the small effort to search for it), it’s rare that I’m actually moved beyond the aesthetic pleasure of hearing something really good. Maybe I’ve just become jaded from being exposed to so much music throughout the years, I don’t know. But Ad·ver·sary’s (a.k.a. Jairus Khan) debut full-length album, Bone Music, moved me to feeling… more. […]”
Chain D.L.K.: Some critics have argued that industrial/dark electronic music is pretty much dead. Do you agree with this view? What is your opinion of the current state of industrial/EBM music?
Ad-ver-sary: Have you ever listened to the lyrics of ‘Chickenshit Conformist‘ by Dead Kennedys? That’s how I feel about industrial. The music is doing fine, it’s the attitude of the people involved that’s the problem. A lot of people have gotten into a routine where they’re going to an industrial night week after week wanting to hear something familiar, instead of going week after week to hear something new. My partner and I DJ every week, and there’s always enough great new music that we never have to play Dead Stars or Head Like A Hole. FLA and Ministry’s last full-length were their best albums in at least ten years, Diskonnekted and Brain Leisure have picked up where Haujobb left off, and there’s a lot of people pushing the edges of the genre. Insurgent Inc. is doing some fantastic industrial-metal crossover, same as Left Spine Down’s doing with punk and Memmaker’s doing with old-school rave. So, no, I don’t think industrial music is dead, I just think there’s a low signal-to-noise ratio. A lot of people have forgotten that industrial is an experimental genre, and if DJs and audiences don’t participate in that process by being open to new music, what they’re really saying is “forget the industrial, I just want the pop.”
This Tuesday is the official Bone Music CD Release Party at Zaphods, with Hound guesting on the WHEELS OF STEEL. I am excited!
ReGen Magazine is hosting an artist Spotlight on Ad·ver·sary, with interview:
Jairus Khan has spent the better part of the last decade developing his craft in the Canadian techno/industrial underground as a DJ and promoter. Making music under his Ad·ver·sary moniker, Khan has had the distinction of remixing and performing alongside such acts as Terrorfakt, Antigen Shift, Convertor, Cyanotic, and Iszoloscope, all the while composing his own original songs. Assembling a demo in late 2005, titled International Dark Skies, Khan began shopping for labels, all the while continuing to hone his skills, before finally landing on burgeoning experimental industrial label Tympanik Audio. Released under a Creative Commons license, the debut Ad·ver·sary album, Bone Music is an intriguing collection of tracks that combine caustic industrial beats with lush ambient beauty, running the fine line across varying genres of experimental electronic music.
A Bone Music review (in German) from Elektrauma, via Google Translate:
…thus begins as “Ancients” relatively quiet, but increases in the composition: first come blecherne bass drums, before then a merciless four-four beat the song pushes forward. “Waiting For Gira” characterized by an almost psychedelic rock sound, which is also minimal, but it is intense. “Friends Of Father” could sinistren with his mood also a Massive Attack or Protishead song. Quite different turn, “No Exit”, an Industrial track before the Lord: Distorted beats, subtle Synthieparts, a lot of energy. Ad.ver.sary seems to be in all areas of electronic music to feel at home and so he works unperturbed anything to him in the head as vorschwebte…
The still relatively unknown Ad.ver.sary project of the Canadian Jairus Khan surprises with a debut album which combines the best of spherical ambient IDM and technoid rhythmic industrial. Here the worlds of Asche and Converter on the one hand and acts like Displacer and Tonikom, merge into a perfect one. But beware, Bone Music is an album with tracks that aim for the dancefloor with a focus on the rhythms. Constantly changing patterns and sound textures in the various tracks go well together with technoid atmospheres and in a song such as ‘Waiting for Gira’ also a rocking guitar and bass lick is included, later joined by heavy drums. At other moments a track is build up with piano loops and violins to create a more majestic atmosphere together with slowed-down breakbeats.
Next up are atmospheres which are more claustrophobic and threatening, with fast distorted beats and glitch sounds. What is striking is that the compositions have been carefully arranged, with layer upon layer resulting in a complex microcosm of sampled sounds, synth textures and rhythms. ‘Ancient’ perfectly illustrates this. Also the aggressive ‘Number Nine’ is an impressive sonic spectacle, which in the remix by Synapscape gets a more compact treatment. Bone Music is a refreshing album in this genre and it furthermore combines a wide array of electronic influences into a complex yet terrifying cold sound. The album furthermore contains remixes from Tonikom and Antigen Shift and a bonustrack, in which Ad.ver.sary has remixed fellow Canadians Urusai. Recommended and also another splendid release from the young Tympanik Audio label. (8.5)
A new Bone Music review (in hilarious english) from Side-Line:
Jairus Khan aka Ad-ver-sary is a Canadian artist we discover through some remixes he made for Converter and Iszoloscope. It took more or less 3 years to this musician to write and achieve his debut release. It’s for sure a good thing to remain patient when composing your first release. Ad-ver-sary seemed to have taken the time to meticulously elaborate and create an own sound. The result is a fascinating mix between astonishing rhythms and well-crafted ambient atmospheres. The rhythmic is an essential element in the music. The complexity and power of the rhythms is simply great. It moves in between ritual and tribal styles while it sounds industrial as well. The percussion for sure makes the sound identity of this project!
Behind this overwhelming rhythmic side comes a sonic puzzle of cold ambient soundsculptures. Here again Ad-ver-sary surprises in maturity and especially in knowledge for creating such arrangements. The main mood of this ambient part sounds definitely cold and a bit industrial like as well while some cool samplings have been added on top. It’s not that easy to define the style of this project, but once again Tympanik Audio has signed a progressive ambient project covering a wider layer of influences.
Once again it’s quite difficult to give you some favorite tracks as the entire album is worthy of examination. The tracks “Number Nine” and “Just (Spooks)” are probably both belonging to the best part of this album. As a bonus we also get remixes by Tonikom, Antigen Shift and Synapscape. Tonikom did a cool job on the remix of “Friends Of Father” sounding less dark while the remix of “Number nine” by Synapscape is also quite well-done. One more great release on the promising Tympanik Audio!
Bone Music is a rather impressive outing for Jairus Khan, proving that he has the chops to become a hero in the industrial music scene. With a hearty helping of melody and thoughtful arrangement coupled with a command of experimental noise and sound manipulation, Ad·ver·sary finds a balance between the brutal and the beautiful, sometimes unsettling and sometimes soothing, while still maintaining its own personality in the wake of a number of similar artists.
A track-by-track Bone Music review, from Reflections of Darkness:
…a quality blend of the organic and the electronic, the destructive power of distorted beats and complex arrangements side by side with the majestic beauty of ambient textures. Feelings made audible. (9/10)
SL. The music on your site is released under a Creative Commons license. Any particular reason?
A. I download a lot of music. A lot. I’ll go through gigs and gigs of it, and buy the albums I like – and it really frustrates me when I open the cd and there’s some snarky message in the liner notes saying “thank you for not downloading this like those other scumbags”. Well, I did download it, and that’s why I bought it.
Bone Music offers a very well thought out and developed blend of instrumental industrial, EBM, ambient, and noise. The key to this album is Khan’s ability to blend organic soundscapes and harsh industrialized rhythms and noise in a way that strikes a balance between what many would consider to be two mutually exclusive musical forms. Indeed, throughout the album, neither approach dominates the other. Some of the stand out cuts from Bone Music include the album’s lead off track “Ancients” which utilizes very simple samples and effects that gradually build up into a very powerful and driving industrial tour de force that is harsh and mechanical while maintaining a sense of musicality, and “Waiting for Gira” which features a very ominous militaristic beat that is backed by subtle soundscapes and a very evocative guitar part that is interestingly reminiscent of U2. For those of you who like harder hitting noise driven pieces “No Exit” and “Number Nine” are aggressive and cacophonous workouts straight from the factory. Overall, Bone Music is a great album that provides a glimmer of hope that industrial music is not dead.
Bone Music is out now. Rather than write pretentiously about my own album, I’m going to let my label’s press release do it for me:
Hailing from the Canadian electronic music underground after a decade of Techno and Industrial DJ and promotional work, Jairus Khan, aka Ad·ver·sary, now presents his debut album three years in the making. While providing North American tour support for such acts as Terrorfakt, Antigen Shift, Cyanotic, Adam X, Iszoloscope and others, his many remixes of such Industrial Noise icons as Converter and Iszoloscope have enjoyed heavy club and airplay around the world. Now, Ad·ver·sary is ready to conquer minds and destroy dancefloors with his debut album ‘Bone Music’ out May 13th on Tympanik Audio. Hard Industrial rhythms meet enormous organic soundscapes to create what Re:Gen Magazine calls “…a balance between the brutal and the beautiful.” Featuring remixes by Antigen Shift, Tonikom, and Synapscape. Mastered by Yann Faussurier of Iszoloscope. Get ready to rock.
…as promised, I’m also making the entire album available for download under a CC license, free of charge, with all album art and liner notes included.(If so inclined, you could even print out the art, burn the CD, and use an old jewel case to make a DIY copy of the album.)
1) Ancients (7:41)
2) Waiting For Gira (3:04)
3) Friends Of Father (6:40)
4) Bone Music (7:12)
5) International Dark Skies (7:06)
6) No Exit (5:15)
7) Number Nine (9:48)
8) Just (Spooks) (6:41)
9) Epilogue (0:59)
10) Friends Of Father (Tonikom Remix) (6:01)
11) Bone Music (Antigen Shift Remix) (4:44)
12) Number Nine (Synapscape Remix) (4:01)
13) Urusai - Learned Helplessness (Destroy And Contaminate Mix By Ad·ver·sary) (Bonus Track - 7:56)
I do have copies in Ottawa that I’m going to see about selling at End Hits (or somewhere) before the Tympanik release party in July, but I’d prefer that if you’re going to buy the album now, you buy it directly from the label online (or at the Kinetik festival in Montreal). Tympanik Audio has supported my idea to distro the album for free online as an experiment, even though they think it’s a terrible idea — and I’d like them to see that it will help early sales, rather than hurt them.
My sincere thanks to everyone for all of your support over the last three years — I hope you enjoy the music.
The Canadian release will be at the Kinetik Festival in Montreal, May 15th.
The American release will be at The Darkroom in Chicago, May 11th, where I’ll be playing a live Ad·ver·sary set with Cyanotic.
(We’ll also do an Ottawa release event of some kind after Kinetik – details to come.)
Three years later, Bone Music is finally done. 13 tracks, just under 77 minutes.
Waiting For Gira
Friends of Father
International Dark Skies
Friends of Father (Tonikom Remix)
Bone Music (Antigen Shift Remix)
Number Nine (Synapscape Remix)
Bonus Track: Urusai - Learned Helplessness (Destroy and Contaminate Mix by Ad·ver·sary)
Yann came into town for the weekend so that we could mix it down and get the master ready, and he worked some kind of audio voodoo — it sounds so much better than the old International Dark Skies demo. I have to finish some final level adjustments to the mastering, and then the album is ready to press — I’ve decided to mix the album to an average RMS level of about -14 dBFS, rather than the much louder -8 to -5 dBFS that’s currently standard for most electronic albums. (For reference, My Bloody Valentine averages at about -17 dBFS, Cyanotic at -9dBFS , and DJ? Acucrack at -6dBFS.) This means that you’ll probably have to turn up the volume when you listen to it, but it’ll sound much better for it.
The art will be done in the next few days, and then everything gets sent to the CD replication house early next week, in time to release at the Kinetik festival in May. There’s also a remix EP coming in the fall (which I’m very excited about), with Cyanotic, Imminent, Stendeck, Asche, Iszoloscope, Synkro, JF Coleman (Cop Shoot Cop, Phylr), Mo (Zykotik K9), Totakeke, Shane (Fiveways) and more.
When Bone Music is released I’ll be making the tracks and artwork available for download on my site– payment optional — and I’ll post here with details on how to buy or download the album. I’ve redesigned the Ad·ver·sary website in preparation, and I’ve put together a new look-and-feel for the Tympanik site, which I’ll be handing over to them next week sometime. Then to design some new merch: stickers, buttons, and maybe hoodies, hats, or new shirts. (Any preferences?)
And maybe, if things work out, a tour in the fall.
Have I ever mentioned how much I hate this time of the year? Every year, you say?
Well, I still do.
I don’t know what’s happening with this Cyanotic/Chemlab tour. Which is bad, considering that I should be booking my time off now, if it’s happening. The problem with being involved in Cyanotic is that you can never really count on anything; the ground is always shifting whenever you look the other way.
…which is fine, given that I’ve been neglecting Ad·ver·sary as of late, due to post-cyanotic-fatigue and pre-label-frustration. I’ve got a handful of releases in various states of completion that I need to deal with:
International Dark Skies: My 2005 demo that labels keep saying they want to release and then not releasing. Current label: Fich-Art, run by the Ars Moriendi crew (Asche, etc). This thing is years old, and I’m tired of it just sitting here.
Bone Music: Full-length album containing some tracks from IDS, some newer reworkings of IDS tracks, plus remixes of IDS from other artists. International Dark Skies 2.0, really. Mostly done — just need to collect remixes and finish one or two tracks.
Channel Zero: This is what I’m working on now. All new material, concept album. Maybe 1/3 done. I’m probably biting off more than I can chew with how I’ve planned it, but we’ll see how it turns out.
The Raven Prince: This won’t be an AVS release — it’ll either come out as a self-titled (if there’s not already a band called The Raven Prince), or I’ll release it under Jairus Khan. 3-track EP soundtrack to a children’s origin-myth-slash-fairy-tale I’m writing.
It would be nice if any of these ended up the way I see them in my head.
Ryan’s a good friend, and I hope his new night is a smash success (and selfishly it would be awesome to have a place where Leslie or I could play an all-goth industrial-free guest DJ set), but I really wish that someone would do a weekly that wasn’t marketed as a statement about Industrial Strength Tuesdays (or “the scene” or whatever). It’s always “re-vamp” and “making the scene a threat” and “the REAL underground” and etcetera. It would be nice if someone did an event that was just marketed as “You like good music? Come to our night! We play good music!”
(Here’s the part where I sound like an arrogant jackass) Aside from Victor (RIP Le Bistro), I’m the only person in town who’s run a successful goth-oriented night in the last ten years (if I’m missing someone, let me know), and I did it twice. The reason they were successful is because they weren’t a reaction to Leslie’s night; if we picked them up and dropped them in a club in Montreal or Boston, we wouldn’t change anything about them. All of the nights/events that have started as an ‘alternative’ to Tuesdays have crashed and burned, because a) the music they play will always be defined by the music played on Tuesdays, and b) there just aren’t enough people who wear black to support two competing events — and let’s be frank — Industrial Strength Tuesday has over ten years of inertia, and any of the events that have openly and directly positioned themselves as competition are punching far above their weight.
The only events that have done well here in the last fifteen years (and this includes Zaphods, Le Bistro, Thunderdome, Dark Crystal, Absinthe, or any other) are the ones that worked to compliment the nightlife, rather than compete with it.
You can run an event that’s founded on aesthetics, or the community, or what-that-guy-across-the-street-is-doing, but they’re not sustainable. The only events that have any staying power are the ones founded on the music.
I’m done now.
From an upcoming issue of ReGen:
Canada’s Ad·ver·sary may not be too well-known in the States, though from the sound of International Dark Skies, he is poised to join in the ranks of such experimental music luminaries as Download and perhaps even Coil. As the brainchild of Jairus Khan, Ad·ver·sary’s music combines the distorted beats of power noise with melodic arrangements and experimental sound design, not unlike what you’d hear from artists on the Frozen Empire Media roster like Antigen Shift or Iszoloscope.
One need only listen to the opening track, “Friends of Father” for proof; with an ambient piano loop reminiscent of Boyd Rice’s NON, and leading into a dark cavern of pounding beats and minor-chord drones, this track simultaneously lulls and agitates, preparing the listener for the veritable cacophony of styles and atmospheres present on the rest of the album. The title track is little more than some deep bass pads amidst a subdued flurry of tribal drum patterns, while “Bone Music” is an upbeat dance number with trancelike ambient textures. Other tracks like the foreboding “No Exit,” with its screeching percussive attacks and bass loop, and “Number Nine,” which sounds like a descent into a subterranean tomb with subtle moans in the background for good measure, both build up gradually to a climactic array of tense industrial noise. “Darker” resonates with its waves of distorted ring modulator synths, giving us the last track of original material before the three remixes at the end.
Oddly enough, these remixes are not of Ad·ver·sary tracks, but are rather Ad·ver·sary’s remixes for Converter, Iszoloscope, and Urusai. The Creeper mix of Converter’s “Cloud’s Eye” begins with some light percussive loops and low-key pads, steadily moving down a winding road of static and noise beats, before reaching an abrupt end. The Winter is Forever mix of “28c and Falling” by Iszoloscope is much more straightforward; after a brief intro of dripping synths and samples, the beats kick in for a series pounding rhythmic attacks. Closing things out is the Destroy and Contaminate mix of Urusai’s “Learned Helplessness.” Soothing washes of airy synths and passive breakbeats start the track off calmly enough, with some scattered samples amidst the firm buildup to a noisy and climactic finish.
International Dark Skies is a rather impressive outing for Jairus Khan, proving that he has the chops to become a hero in the industrial music scene. With a hearty helping of melody and thoughtful arrangement coupled with a command of experimental noise and sound manipulation, Ad·ver·sary finds a balance between the brutal and the beautiful, while still maintaining its own personality in the wake of a number of similar artists. Sometimes unsettling and sometimes soothing, it may not be the most perfect release in the field of experimental electronic or industrial music, but International Dark Skies is certainly one fine collection of truly innovative music.